Resident Evil, the Radio Drama
by Catboiler
Summary: Resident Evil, the radio drama is a 5 episode adaptation of the first (and best) Resident Evil video game. Written after the disappointment of the first film, it was recently recorded over a period of 8 months in South Wales, UK with a full voice cast, using sound effects and music from the original games. The recorded version can be found on Soundcloud.
1. 01 Cannibal Killers

**After the disappointment of the first film, I decided to show my respect for the first Resident Evil game by writing and recording a radio drama with as high production values as I could manage. I finally managed to get it recorded in 2014. Although not strictly canon, all the music (bar one track) was taken from the various Resident Evil game soundtracks.**  
 **The recorded version can be found here:**  
 **soundcloud iansjames/sets/resident-evil-the-radio-drama**

 **Please note that the audio and script version should be taken as one and the same entities. I think there may be one or two slight difference between the script and the final recording.**

 **(For anyone who is interested, I get to play Barry Burton!)**

 **As always, any comments or thoughts are appreciated.**

* * *

Resident Evil, the Radio Drama

01\. CANNIBAL KILLERS

written by Catboiler

based on

Resident Evil (1996) Capcom

Resident Evil, the Umbrella Conspiracy, by S.

* * *

Recording available on Soundcloud

Just go to soundcloud and search for: "Resident Evil the Radio Drama"

* * *

INT. News studio - MORNING

 _MUSIC (BRIEF NEWS THEME)_

Reporter

The mutilated bodies of a young couple were found early this morning, making them the eighth and ninth victims of the reign of violence that has terrorised Raccoon City since mid-May.

Both victims, believed to be aged between eighteen and nineteen were discovered by police officers on the west bank of the lake at two o'clock this morning. A source within the RPD confirmed that the corpses show evidence linking them to the so-called 'cannibal killers', namely that the bodies appear to have been partially eaten, the bite patterns consistent with human jaws.

In the last hour, Police Chief Brian Irons has finally capitulated to public pressure and announced additional measures to combat the threat. A roadblock will be set on Route Six at the foothills of the Arklay Mountains, and members of the Special Tactics and Rescue Squad, known as the STARS, are to be called in to help. "We've had nine brutal murders in two months," he said, "and at least five disappearances. The STARS have just the kind of experience we need to investigate these heinous crimes."

When asked why the STARS hadn't been assigned to these cases until now, the Chief would only say that they would be a 'welcome addition' to the taskforce currently working on the murders.

With the city gripped by terror, the hope now is that the addition of the STARS will finally find the missing hikers and bring a welcome end to what's become known as 1998's 'Summer of Terror'.

 _MUSIC, Opening Theme_

* * *

FADE TO BLACK.

Int. Rpd canteen - MORNING

 _SFX, General murmur of people talking, eating and drinking, fade under dialogue and continue._

CHRIS

Hey Forest, wait up! Uh, coffee, please. Black, no sugar.

Forest

 **off** Hey Chris, what's up?

CHRIS

Thanks. What's going on? Word is you're going in?

FOREST

Yeah, Wesker gave Marini the go-ahead to start the search. About time too, if you ask me. We've been sitting on our asses doing diddly-squat for far too long. Now Bravo Team is finally going in.

CHRIS

When?

FOREST

Now. Soon as I warm up the copter. **chuckles** While you Alphas sit taking notes and listening to the Chief whining, we're gonna go kick some cannibal ass!

CHRIS

Yeah, well, just watch _your_ ass, ok? Confidence will get you so far, but I still think there's more going on here than a couple of slobbering nut jobs hanging around in the woods.

FOREST

You know it, Chris.

CHRIS

Damn. I've been telling them to send us in for weeks. Ever since Billy called...

FOREST

Yeah that was weird.

CHRIS

He called me couple of weeks back. I mean, I've known him since, well, since forever, but this came out of the blue. I hadn't heard from him in a while, knew he was into science, some research job with Umbrella out of town somewhere. But he calls me late one night and, I dunno, the sound of his voice jolted me. He sounded... well, terrified, desperate, you know? He babbled something about his life being in danger, begged me to meet him in some out-of-the-way diner out near Route 6.

FOREST

But he didn't show?

CHRIS

Nope. I haven't heard from him since. But Route 6 is too close to the crime scenes to be a coincidence.

FOREST

You think he knew something?

CHRIS

Yeah, he knew something all right. Something he couldn't tell me over the phone. But dammit! We need to be out there searching!

FOREST

Well, we'll take a good look, Chris, I can promise you that.

CHRIS

Yeah, go on, get on with you. Have fun while we sit listening to the Chief.

FOREST

 **chuckles**

CHRIS

Oh and Forest?

FOREST

Yeah?

CHRIS

Take care, ok?

FOREST

You got it, buddy.

FADE TO BLACK.

* * *

INT. STARS OFFice - MORNING

Irons

 **fade in** and so I said, 'You're gonna print what I tell you to print, Bertolucci, and you're gonna like it, or you'll never get another quote from this office!' And he says...

Wesker

Chris! Good, you're here. Looks like we can stop wasting time.

Chris

You're sending Bravo Team in?

WESKER

We talked about this, Chris. It's standard procedure. We send the Bravos in, then you follow if needed.

CHRIS

Yeah, but with what we talked about, I thought...

IRONS

I gave the order, Redfield. I don't see any reason to panic the public, which is exactly what would happen if we deviate from policy and send the Alphas in first.

CHRIS

 **forced** Of course, Chief Irons. No need to explain yourself on my account.

IRONS

I know that, Redfield. Wesker, I'll expect a report when Bravo Team returns.

 _SFX, Footsteps leave, door opens and closes._

WESKER

That's not intelligent, Chris. Belligerence to the police chief is a sure way to a transfer. **sigh** Look, I know you wanted things to go differently, but he didn't put a whole lot of stock in your ... theory.

CHRIS

Not your fault.

Barry

Don't sweat it, Chris. Alphas'll be called in the second the Bravos smell trouble. Irons is just pullin' your chain.

CHRIS

Yeah, I just... never mind.

 _SFX, Shuffling papers, fade under..._

BARRY

Any luck, Joseph?

Joseph

You kidding? It's like somebody hid the damn thing on purpose!

 _SFX, Shuffling papers stop_

BARRY

Maybe Jill found it. She was reading witness reports for like the hundredth time last night.

Brad

What are you looking for?

JOSEPH

Floor plans for the Spencer estate, Brad. Barry claims they're in some architectural digest that came out when the house was built. **pause** Except I'm thinkin' that ol' Barry's gone senile on us. They say memory's the first thing to go.

Barry

Ol' Barry could easily kick your ass into next week, little man.

JOSEPH

Maybe, but would you _remember_ it afterwards?

BARRY

 **chuckles** Yeah, yeah, Joseph. Keep takin' what you're takin'.

Brad

The Spencer place? Why would it be in a magazine?

BARRY

You kids gotta learn your history. It was designed by the one and only George Trevor, just before he disappeared. In fact, Trevor's disappearance may have been the reason that Spencer shut the mansion down. Rumour has it that Trevor went crazy during the construction and when it was finished, he got lost and wandered the halls until he starved to death.

BRAD

 **uneasy** I never heard that.

JOSEPH

No, no, it's true, Brad. Now his tortured ghost roams the estate each night, pale and emaciated, and I've heard tell that sometimes you can hear him calling out "Brad Vickers, bring me Brad Vickers..."

BRAD

Yeah, ha ha, you're a real comedian, Joseph, you know that.

JOSEPH

 **chuckles**

BRAD

So is that why Spencer shut it down?

BARRY

No idea. It was supposed to be some sort of guest house for Umbrella's top executives. Trevor did disappear right about the time of completion, but Spencer was whacko anyway. He decided to move Umbrella's headquarters to Europe, I forget exactly where, and just boarded up the mansion.

JOSEPH

And it was Umbrella that told Irons they'd already sent someone to check it out and it was secure. Nothing suspicious there at all. Nothing to worry about.

BRAD

So why look for the blueprints if we're not looking at the mansion?

CHRIS

Because we _should_ be looking at the mansion. It's practically slap bang in the middle of the crime scenes, and it's the only place in the woods that hasn't been checked out by the police. And because you can't always believe everything you're told.

BRAD

But if Umbrella already looked there...

WESKER

All right people. It doesn't appear that Ms Valentine will be joining us this morning, and we can't afford to wait any longer for her, so let's get started.

FADE TO BLACK.

* * *

INT. STARS OFFICE - MOMENTS LATER

WESKER

(fade in)... The RPD has already established a perimeter search spanning sectors one, four, seven and nine. It's the central zones we're concerned about, and Bravo will set down _here_ after a flyby of the other central areas. Once they report in, we'll have a better idea of where to focus our energies.

 _SFX, Door opens_

JILL

Sorry I'm late.

 _SFX, Door closes_

WESKER

Good morning, Ms Valentine. So nice of you to join us.

 _SFX, Chair scrapes on floor as Jill sits down._

Jill

Traffic, sir. Won't happen again.

WESKER

See that it doesn't. Not a good show on your first official briefing to turn up over twenty minutes late, Jill. Now, as I was saying...

Chris

But sir, what about the Spencer place? I mean, it's practically in the centre of the crime scenes. If we start there, we can conduct a more complete search and...

WESKER

... and if Bravo's information points to that area, rest assured, we'll search there. For now, I don't see any reason to consider it a priority. Umbrella has...

CHRIS

... we can't necessarily trust them sir, we only have their word the place is secure.

WESKER

Chris, we all want to get to the bottom of this. But we have to work as a team, and the best approach is to do a thorough search _before_ we jump to conclusions. Bravo will take a look and we'll do it by the book. Now, Jill, why don't you illuminate us with your brilliant insight?

JILL

Yes sir. I've been looking through the paperwork, witness statements, maps, that sort of thing, and I think it's a possibility that there's a ritualistic cult hiding out in the mountains. Possibly four to eleven members strong, maybe more, with guard dogs trained to attack intruders.

WESKER

Interesting. Extrapolate.

JILL

The cannibalism and dismemberment suggest ritualistic behaviour, as does the presence of decomposed flesh found on some of the victims - like the killers are carrying parts of previous unknown victims to their attacks. We've got saliva and tissue samples from four separate human assailants, although eyewitness reports suggest up to ten or eleven people. And those killed by animals were all found in the same vicinity, suggesting that they wandered into some kind of off-limits area.

WESKER

Disprove?

Jill

Well, it's highly unlikely that a cult that big would move around too much, and the murders started too recently to be local. The RPD would've seen signs before now, some escalation to this kind of behaviour, something like that. Also, the level of post-mortem violence indicates disorganised offenders, and they usually work solo.

JOSEPH

The animal attack part works though, protecting their territory and all that.

WESKER

I agree. Brad?

BRAD

It could be a, you know, new strain of terrorism? They've started by putting the fear of God into the town; the demands will follow.

WESKER

Terrorism.

BARRY

It's a possibility, Captain.

WESKER

Unlikely. But a start. Now, I know you've all read the police and coroner reports, and listened to the eyewitness accounts...

BRAD

 **hushed** Vickers here, over.

WESKER

Now at this point, we don't know what we're dealing with and I know that all of use have some... concerns with how the RPD has been dealing with the situation. But now that we're on the case, I...

Brad

 **normal** _What?_ Bravo team, report. Repeat, Bravo team, report!

WESKER

Vickers, put it on speaker.

 _SFX, Radio static, several seconds, fade into..._

Enrico

 **filtered through static** ... you copy? Malfunction in... we're going... Alpha ... forest...

 _SFX, Radio static_

WESKER

Position?

BRAD

Uh, sector twenty-two, tail end of C... except I've lost the signal. The transmitter is off-line.

BARRY

Twenty-two? That's ...

CHRIS

The Spencer Estate.

WESKER

Yes Chris, it looks like you'll get your wish after all. Vickers, get the copter warmed up. I want us ready to fly in five. Barry, Chris, Joseph, get the weapons in, loaded and secured. Jill, get the vests and packs and meet us on the roof. I'll put in a call to Irons, make sure he gets us some backup and EMTs down at the barricade. Five minutes or less, people. Let's move!

FADE TO BLACK.

Int. Helicopter interior - LATER

 _SFX, Fade in muffled helicopter engine, fade under dialogue._

BRAD

 **off** ETA three minutes.

 ** _pause_**

JILL

Uh, Chris?

CHRIS

What?

JILL

 **voice lowered** Chris, what you've been saying about external factors in these cases... well, I think you might be on the right track and I'm starting to think that it might not be such a good idea to talk too much about it.

CHRIS

 **voice lowered** What? Did something happen?

JILL

 **voice lowered** No. I've just been thinking that maybe you should watch what you say. Maybe not everyone listening in is on the right side of this...

CHRIS

 **voice lowered** What do you mean? The only people I've talked to are on the job, and **pause** No, Jill, no way. I _know_ these people, and even if I didn't, the STARS have psych profiles on every single member, history checks, personal references, there's no way that one of us could... no way at all.

JILL

 **voice lowered** Look, forget I said anything. I just... just watch yourself, that's all.

WESKER

All right people, look lively! We're coming up on sector twenty-two. Keep an eye out, they could be anywhere.

 ** _long pause_**

JOSEPH

Nothing over here.

 ** _pause_**

BARRY

Clear this side.

 ** _pause_**

JILL

Look, Chris!

CHRIS

Captain, two o'clock. Smoke!

WESKER

Vickers!

BRAD

 **off** I'm on it.

WESKER

Let's not assume the worst, people. There's a possibility that a fire broke out _after_ they landed, or that they started the fire on purpose as a signal, but whatever it is, we won't know till we get there. Now, if I could have your full attention, please. We've got people down in a possibly hostile environment. I want all of you armed, and I want an organised approach, a standard fan as soon as we set down. Barry, you'll take point. Brad's going to set us down as close to the site as he can get, what looks like a small clearing about fifty metres south of their last coordinates. He'll stay with the 'copter and keep it warm in case of trouble. Any questions? **pause** Good. We can leave the rest of the gear on board and come back for it.

FADE TO BLACK.

* * *

Ext. Forest - LATER

 _SFX, Helicopter engine fades out as the team moves away._

 _SFX, Sounds of people walking slowly on grass for several seconds, then fade under dialogue and continue._

CHRIS

 **off** What the...?

JOSEPH

It's intact!

JILL

Not a scratch.

WESKER

The port rail is a little bent, but nothing serious.

BARRY

 **off** So where _are_ Bravo Team?

WESKER

Joseph, check it out. The rest of you, spread out. Look for clues - tracks, shell casings, signs of a struggle, that sort of thing. You find something, let me know straight away. And stay alert. The Bravos have to be around here somewhere. It's only been fifteen minutes, they can't have got far.

 ** _pause_**

JOSEPH

I don't know what happened, sir. The bent rail suggests a forced landing, but except for the electrical system, everything looks fine. Bottom line, it didn't crash, sir. I know that much.

WESKER

 **sigh, raised voice** Ok, circle out, people. Three metres apart, widen as we go.

 _SFX, Dry weeds crackling underfoot, people searching through brush and grass._

BARRY

 **off** Nothing here. Jill?

JILL

Nothing.

JOSEPH

 **off** Hey! Over here! I've found something! It's... **pause, then screams**

 _SFX, Deep, guttural animal snarl off_

 _SFX, Deep, guttural animal snarl close_

JILL

 _Joseph!_

JOSEPH

 **screams**

 _SFX off Dogs ripping Joseph apart, snarling, growling_

 _SFX off Several gunshots_

 _SFX Dog yelp_

 _SFX More gunshots_

WesKER

 _Hold your fire!_

 _SFX Pause for 3 seconds_

 _SFX Animal howls all around, on and off_

WESKER

Back to the copter, _now!_

 _SFX Sprinting on grass, animal snarls and gunshots_

 _SFX Fade up idling helicopter_

 _SFX As they near it, helicopter powers up, takes off and fades out under dialogue_

Chris

 **off** No! Don't go! Don't leave us!

JILL

 ** _off_** _Brad!_

WESKER

 _Vickers!_ Come back, damn you!

 _SFX, Gunshots, dog yelp_

CHRIS

 **off** This way!

 _SFX People sprinting through grass / trees, gunshots, animal howls and snarls and the occasional dog yelp after a gunshot, fade under dialogue but keep going._

JILL

 **off** Where to?

WESKER

Veer right, one o'clock!

 ** _long pause_**

CHRIS

 **off** There! Run for that house!

 ** _long pause_**

 _SFX After 5 or so seconds, stop running, huge double doors creak open. Lots of gunshots, yelps and snarls. Double doors crash close (with appropriate echo). Gunshots and yelps stop, but muffled snarls and dogs scrabbling at other side of double doors._

WESKER

 **to himself** All the best laid plans. Well, we're here now, better make the best of it. Only problem is, are we in fact safer in here than outside? Truth is, I'm not entirely sure.

FADE TO:

 _MUSIC, Closing Theme, fade under credits._


	2. 02 Darkness Lives

Resident Evil, the Radio Drama

02\. DARKNESS LIVES

written by Catboiler

based on

Resident Evil (1996) Capcom

Resident Evil, the Umbrella Conspiracy, by S.D. Perry

* * *

Recording available on Soundcloud

Just go to soundcloud and search for: "Resident Evil the Radio Drama"

* * *

Int. Mansion entrance hall - AFTERNOON

 _SFX, All voices heavy reverb_

JILL

My word!

BARRY

What _is_ this place?

CHRIS

It looks fantastic, like, like a palace or something! Look at that carpet, wow!

JILL

I don't like it.

BARRY

What?

JILL

I don't like this place. It feels... wrong.

CHRIS

You don't believe in ghouls or ghosts, do you? Or maybe zombies! **does fake zombie moan and chuckles**

JILL

Of course not, Chris, but it feels wrong. This place isn't right. We should be careful.

BARRY

Well, at least it's safer than out there.

CHRIS

Yeah, beats getting eaten by a pack of rabid dogs, doesn't it?

JILL

 **pause** Poor Joseph.

WESKER

All right people, look sharp. We're here now, so let's make the best of it.

BARRY

Well we can't get back out that way, can we?

CHRIS

Not unless we can rid of those dogs first.

JiLL

Chris, those dogs...

CHRIS

Yeah?

JILL

Some of the victims were ripped apart...

CHRIS

Jill! You don't think...

BARRY

Could be, Chris. It does make sense. And as you said, this place is in the centre of the crime scenes.

WESKER

 **off** No point in speculating at the moment. Look, the wood around the lock is splintered. Someone broke this door open before we got here.

CHRIS

Maybe the Bravos?

WESKER

 **off** That's what I'm thinking. And help should be on the way, that is, of course, assuming our courageous pilot _Mr Vickers_ bothers to call it in. **pause** It's obviously not safe to go back outside. Until the cavalry shows up, we may as well take a look around.

BaRRY

It looks like someone's been keeping this place up.

CHRIS

Didn't you say this was deserted? This does not look deserted, Captain.

WESKER

I agree, Chris, so we tread carefully. We don't know what's been going on here.

JilL

We left all our equipment on the copter too. Ammo, flashlights, medical supplies...

WESKER

And the vests and shotguns. Thanks Brad. Damn! **pause** What _do_ we have?

CHRIS

Beretta, couple of clips.

JILL

Same here.

BARRY

Got my colt, plenty of ammo.

WESKER

Good. Ok, I suggest we...

 _SFX, Distant thump, something heavy sliding to the floor_

BARRY

What was that?

WESKER

Chris, go and check it out. Report back here ASAP when you find out. We'll wait here in case the RPD come knocking. You run into any trouble, fire your weapon and we'll find you.

CHRIS

Yes, sir.

 _SFX, Chris walks slowly away._

JILL

Chris?

CHRIS

 **off** What?

JILL

Take care.

CHRIS

 **off** Don't worry, I can take care of myself, right?

 _SFX, off Wooden door opens and closes._

FADE TO BLACK.

* * *

Int. MANSION DINING ROOM AND CORRIDOR - MOMENTS LATER

 _SFX Fade up ticking of a grandfather clock, fade up as Chris approaches it and fade down as he walks away from it._

 _SFX Footsteps on wood, fade under dialogue_

CHRIS

 **to himself** Nice dining room. **pause** Table's set, too. **pause** Odd. Nobody's supposed to have been here for thirty years, let alone host a formal dinner! Spencer closed it down before anyone ever stayed here? **pause** So why did Umbrella lie to the chief about it being quiet and unused? With those dogs running wild out there...

 _SFX, Wooden door opens and closes_

CHRIS (CONT'D)

 **sniffs twice, then once more** Eugh! What's that smell? Smells like... vomit.

 _SFX, off Fummp_

CHRIS (CONT'D)

What was that? Hello? Anybody there?

 _SFX, off Fummp_

CHRIS (CONT'D)

Who's there? I warn you, I'm armed.

 _SFX, Cautious footsteps on wooden floor_

 _SFX, Door slowly creaks open_

CHRIS (CONT'D)

Hey, sir, are you ok?

 _SFX, off Zombie moan_

CHRIS (CONT'D)

What the...

 _SFX, Door slams shut_

 _SFX, off Zombie moan, slow shuffling footsteps_

CHRIS (CONT'D)

Hold it right there, sir! Don't move!

 _SFX, off shuffling footsteps approach, fade under dialogue_

CHRIS (CONT'D)

Sir? **pause** Is that... blood? Stay right where you are! Don't come any closer, sir, or I'll open fire. **pause** Hold it!

 _SFX, Loud zombie moan, shuffling footsteps stop_

CHRIS (CONT'D)

I'm warning you.

 _SFX, Loud zombie moan, followed by three gunshots and a body hits the floor._

CHRIS(CONT'D)

What the hell _is_ that? **pause** It looks... no, it can't be. Zombies aren't real. They're just...

 _SFX, Door rattles - it's locked_

 _SFX, Low zombie moan, it pulls itself across the floor_

CHRIS (CONT'D)

 _What?_

 _SFX, Two gunshots, moans/shuffling stop_

CHRIS (CONT'D)

How come it wasn't dead? I put three rounds in it!

 _SFX, off Zombie moans from several zombies at different distances_

CHRIS (CONT'D)

 **off** Oh, god, there's more of them!

 _SFX, off Gunshots_

FADE TO BLACK.

* * *

Int. MANSION ENTRANCE HALL

 _SFX, All voices reverb_

 _SFX, Three distant gunshots, then two more after a few seconds_

JilL

Chris!

WESKER

Jill, why don't you...

BaRRY

I'm going, too.

WESKER

Go. I'll wait here.

 _SFX, Hurried footsteps (x2), fade out to off door opening_

FADE TO BLACK.

Int. Mansion corridor

 _SFX, Cautious footsteps_

JILL

Chris?

BARRY

 **sniffs air twice** Eugh! What's that, rotting fruit?

JILL

 **sniffs** Whatever it is, it's close.

BARRY

Look!

JILL

Blood?

BARRY

I hope that's not Chris's blood. I'll check it out.

JILL

I'll check the doors.

 _SFX, Barry walks away_

 _SFX, off Zombie moan_

JILL (CONT'D)

 **gasp of surprise**

BARRY

 **off** Jill!

JILL

Stop! Don't come any closer!

BARRY

Jill?

JILL

Barry, it's a monster!

BARRY

Get clear, left!

 _SFX, One shot, body drops_

BARRY (CONT'D)

Are you ok, Jill?

JiLL

Yeah, I hesitated, I... what... it was _eating_ that... that...

BARRY

Oh my god, it's Ken. Ken Sullivan.

JILL

Ken! The Bravos _did_ come here, then. How did he... I mean...

BARRY

He bled out. Look, it must have been _his_ hand that Joseph found out there. He managed to get here, then...

JILL

So where's Forest, Richard, Rebecca and Enrico?

BARRY

They must be around here somewhere. And Chris.

JILL

My god, he must have run into one of those... things. What _was_ it, Barry?

BARRY

We're looking at one of the cannibal killers, Jill, I'm sure of it. Look at it. It looks, well... dead.

JILL

It _is_ dead, Barry.

BARRY

No, I mean it looks like it was dead _before_ that. That's what we could smell before. It was rotting flesh, not fruit.

JILL

Barry? Are you out of your mind? How could he be dead before you shot him? He was up and walking around and...

BARRY

 **softly** Jill. Think about it.

JILL

What? You're saying this guy's a... zombie?

BARRY

Either that or somebody forgot to tell him that dead guys don't up and walk around.

JILL

Barry, just listen to yourself! Zombies? Seriously? They don't exist!

BARRY

Then explain that.

JILL

But...

BARRY

Look, I don't have any answers, ok? Let's just find Chris, yeah?

JILL

My god, Barry. The victims had samples of unknown DNA on them, samples of rotting flesh. We just assumed it was some ritual. But now... Eugh! That's disgusting. These...

BARRY

Say it, Jill.

JILL

... _zombies_ attacked and ate them, didn't they?

BARRY

Certainly looks that way.

JILL

I said there was something wrong about this place. And Umbrella said...

BARRY

I know what they said. Look, let's get back to Captain Wesker. If this is the hideout of the cannibal killers, we need to let him know what we're facing. We need a plan of attack.

 _SFX, Footsteps_

FADE TO BLACK.

* * *

Int. MANSION ENTRANCE HALL - MOMENTS LATER

 _SFX, All voices reverb_

BARRY

Wesker? Captain Wesker!

JILL

 **off** Wesker!

BARRY

Any sign of him?

JILL

You think he ran into one of those... zombies?

BARRY

Not sure. I don't think the RPD showed up and snuck him out. Though, if he _did_ run into trouble, we would have heard the shots.

JILL

Not necessarily. He could have been ambushed, dragged away.

 ** _long pause_**

JILL (CONT'D)

It _was_ a zombie, wasn't it, Barry?

BARRY

 **sigh** I think so. I looked into its eyes before I shot it. There was nothing there. Not a spark. It had been, well, _dead_ some time.

JILL

It's like a horror movie. How did...

BARRY

I don't know, Jill. But we've definitely found the source of the trouble.

JILL

Chris was right. Dammit, Barry, he was _right_!

BARRY

What _I_ want to know is why Umbrella said there was nothing here.

JILL

Yeah, well, they lied. **pause** So, do we go looking or do we wait here?

BARRY

Go looking. Ken made it here. The rest of the Bravos could be somewhere in this nightmare house. It'd be easy enough to get lost. Chris... Chris and the Captain got sidetracked, that's all, but we'll find them. It'd take more than a couple of walking stiffs to cause either of them any grief.

JILL

I guess you're right.

BARRY

Look, take this.

JILL

Lockpicks?

BARRY

It's the set you gave me to practice with last month. I figure you, the master of unlocking, will have better luck with them than I did. **pause** And I think we should split up.

JILL

Barry?

BARRY

I know it's dangerous, but we have a lot of ground to cover. We find anybody, we meet back here, use this room as a base.

JILL

I...

BARRY

You up for this, Jill? We _could_ search together if you want...

JILL

No, you're right. I'll take the west wing.

BARRY

Ok, I'll go back through the dining room and see if I can persuade some of the doors to open. Keep an eye out for a back exit, conserve ammo where you can... and be careful, Jill.

JILL

You too.

BARRY

Yeah, yeah, I'll be fine.

 _SFX, footsteps fade out_

FADE TO BLACK.

* * *

Int. Mansion storage room

 _SFX, Zombie moans and shuffling footsteps from behind the door_

 _SFX, Gunshots and moans, bodies dropping outside the door_

 _SFX, door bursts open_

 _SFX, Aerosol spraying_

CHRIS

Gah! **splutters and cries in pain**

 _SFX, Door slams shut_

REBECCA

What? Oh no! Uh...

 _SFX, Scrabbling around in a medical kit_

REBECCA (CONT'D)

No, keep your eyes closed, don't rub at them, ok? **pause** Here, lean your head back. This is going to sting a little, but it's just water, ok?

CHRIS

 **long exhale** What _was_ that stuff?

REBECCA

Uh, bug repellant. The label's been ripped off but the active ingredient's probably permephrin. It's an irritant but the effect shouldn't last long. I lost my gun and when you came in I thought you were one of those things, though if they haven't figured out how to use a doorknob by now, they probably won't. **pause** I'm babbling, aren't I? **nervous giggle**

CHRIS

Rebecca... Chambers, right?

REBECCA

Yeah, look, I'm really sorry, Chris...

CHRIS

Don't worry about it. Not a bad weapon, actually. Where are we?

REBECCA

Some sort of storage room.

CHRIS

You ok?

REBECCA

Yeah, I guess.

CHRIS

What happened? We got the call and came searching, but all we found was the helicopter, no sign of you guys.

REBECCA

I don't know. Something went wrong with the helicopter and we had to set down. We were attacked by animals, some sort of big dogs, and Enrico told us to run for cover. **pause** I got... turned around in the woods and ended up at the front door of this place. I think one of the others broke it down, it was open and...

CHRIS

There's nothing else you could have done, Rebecca. Enrico said run, you ran, you followed orders. Those creatures out there, the zombies... they're all over the place. I got lost, too, and the rest of the Alphas could be anywhere. Trust me, just the fact you made it this far...

 _SFX, Low zombie moan outside the door_

REBECCA

So what do we do now?

CHRIS

We look for the others and try to find a way out. **sigh** Except you don't have a gun and I'm almost out of ammo.

REBECCA

I've got ammo, look! And I found this key on the desk. It's got a carving of a sword on it.

CHRIS

Nice. Thanks.

 _SFX, Chris rifles through paperwork_

CHRIS (CONT'D)

Your background's biochemistry, right? Have you looked through these?

REBECCA

Barely. To be honest, I've been busy watching the door, although I guess if they haven't figured out how to use a door knob by now, they probably won't. Let me take a look.

 _SFX, Rebecca picks up some papers_

REBECCA(CONT'D)

Brain chemistry, but the numbers are all screwed up. The serotonin and norepinephrine are too low... but look here, the dopamine is off the chart, we're talking big time schizo here... what?

CHRIS

 **chuckles** Nothing, it's just...

REBECCA

I'm too young, aren't I?

CHRIS

No, it's not that, it's...

 _SFX, Soft thump against the door, zombie moan_

CHRIS (CONT'D)

I passed a door with a sword etched on the keyhole. I'm going to go check it out, see if it leads back to the main hall. I want you to stay here and go through these files. Maybe there's something we can use...

REBECCA

But...

CHRIS

I've got plenty of ammo now, thanks to you, and I won't be gone long. Ok?

REBECCA

I guess.

CHRIS

The RPD should be here any time, so if I don't come back right away, just wait here. Get ready, ok? As soon as I'm out, move the trunk in front of the door. I'll give a yell when I get back.

REBECCA

Ok.

 _SFX, Door opens slowly. Chris walks out and the door closes. Rebecca pulls the trunk across the door. A few seconds later four or five gunshots in the distance_

REBECCA(CONT'D)

 **sigh** That could have gone better. Why did I have to lose my gun?

 _SFX, Rebecca starts sifting through papers_

FADE TO BLACK.

* * *

Int. Mansion back exit

 _SFX, Muffled wildtrack of cicadas and crickets, fade under dialogue_

 _SFX, From the other side of the door heading back into the mansion, muffled zombie moans, gunshots, bodies dropping, for around 5 seconds, then stop_

 _SFX, Metal door opens and closes_

 _SFX, Footsteps on stone, fade under dialogue_

JILL

 **breathing heavily** Headshots... aim for the head. Wait a sec, is this a way out? **pause** Great! A secured path, straight to the back of the place. We head north, hit one of the logging roads and hike down to the barricade.

 _SFX, Footsteps on stone for 3 more seconds, then stop_

JILL (CONT'D)

What's this? When the sun sets in the west and the moon rises in the east, stars will begin to appear in the sky and the wind will blow toward the ground. Then the gate of new life will open. Oh great. Just great, a puzzle lock? Of all the...

 _SFX, Distant lone dog howl, then joined by more_

JILL (CONT'D)

We're trapped. Trapped in this nightmare house!

CUT TO:

 _Music, Closing Theme and Credits_


	3. 03 Traitor

Resident Evil, the Radio Drama

03\. TRAITOR

written by Catboiler

based on

Resident Evil (1996) Capcom

Resident Evil, the Umbrella Conspiracy, by S.D. Perry

* * *

Recording available on Soundcloud

Just go to soundcloud and search for: "Resident Evil the Radio Drama"

* * *

Int. Previously on resident evil

MUSIC, Opening Theme

Fade to:

Int. Small BEDROOM

SFX, Door opens and closes, cautious footsteps, searching around the room 4 seconds, footsteps stop.

CHRIS

Hello? What do we have here? A diary.

DIARY

May 9. Played poker tonight with Scott and Alias from Security, and Steve from Research. Steve was the big winner, but I think he was cheating. Scumbag.

May 10. One of the higher-ups assigned me to take care of a new experiment. It looks like a skinned gorilla. Feeding instructions are to give it live animals. When I threw in a pig, the creature seemed to be playing with it, tearing off the pig's leg and pulling out the guts before actually eating it.

SFX, Turn page

DIARY (CONT'D)

May 11. At around 5am, Scott woke me up. He was wearing protective garment that looked like a space suit. He handed me another one and told me to put it on. Said there'd been an accident in the basement lab. I just knew something like this would happen down there. They never rest.

May 12. I've been wearing the damn space suit since yesterday. My skin's getting grimy and feels itchy all over. The goddamn dogs have been looking at me funny, so I decided not to feed them today. Screw 'em.

May 13. Went to the infirmary because my back is all swollen and feels itchy. They put a big bandage on it and told me I didn't need to wear the suit any more. All I want to do is sleep.

CHRIS

Accident? My god...

SFX, Turn page

DIARY

May 14. Found another blister on my foot this morning. I ended up dragging my foot all the way to the dogs' pen. They were quiet all day, which is weird. Then I realised some of them had escaped. If anybody finds out, I'll have my head handed to me on a plate.

May 15. My first day off in a long time and I felt awful. Decided to go visit Nancy anyway, but when I tried to leave the estate, I was stopped by the guards. They said the company's ordered that no-one leaves the grounds. I can't even make a phone call - all the phones have been ripped out. What sort of crap is this?

May 16. Rumour's going around that a researcher who tried to escape last night was shot. My entire body feels hot and itchy and I'm sweating all the time now. I scratched the swelling on my arm and a piece of rotten flesh just dropped off. Wasn't until I realised the smell was making me hungry that I got violently sick.

CHRIS

 **to himself** Secret research at a secret estate? An accident in a hidden lab? An escaped virus or infection of some kind that turns people into those ghouls? And some of them got out! The cannibal killers! **pause** Maybe Rebecca knows something about this virus.

SFX, Door opens

FADE TO BLACK.

* * *

Int. Art gallery

SFX, Mournful crow caw

JILL

What the... ok, just a crow. What are they doing in an art gallery?

SFX, Slow footsteps on carpet under dialogue

JILL (CONT'D)

 **to herself** Not much in here except the crows and a few old oil paintings; a baby, an old man. Not exactly inspired artwork. Quite creepy, in fact. Oh well, may as... Wait a sec. If _that's_ the light switch, what are these other switches for? Maybe there's more to this than I thought. From cradle to grave. Wonder what that means?

SFX, Flicks a switch, an electrical snap and the crows explode into motion, cawing and beating their wings. Gets closer to Jill.

JILL (CONT'D)

 **screams**

SFX, Footsteps running out, door slams shut, crows suddenly muffled but still audible. After a while they die down.

JILL (CONT'D)

 **breathing heavily** What the hell? Attack-trained crows? **pause, to herself** But how did they...

SFX, Flashback to the switch, electrical snap and crows, slowed down and reverse reverb

JILL (CONT'D)

The perch! Oh, that's clever! Someone's gone to a lot of trouble in there to hide something, I'm sure. But how... I suppose I could stand in the doorway, take them out one at a time. No, would take too much ammo. Only fools accept the obvious and go no further. Come on Jill, use your brain. From cradle to grave, switches, a young boy, a baby, and old... of course! From cradle to grave. Clever!

SFX Door opens slowly

FADE TO BLACK.

* * *

Int. Mansion storage room

SFX, Banging on door (muffled)

CHRIS

 **from behind door** Rebecca? Let me in, it'ss Chris!

SFX, Rebecca pulls the trunk away from the door, opens the door

CHRIS (CONT'D)

Thanks.

SFX, Door closes

REBECCA

Chris! You're ok!

CHRIS

Yeah, thanks. Look, I found a diary in the sword key room. It looks like there was some research going on here. I don't know what kind, but...

REBECCA

Virology. You were right about there being something useful in here.

SFX, Chris takes papers from Rebecca

CHRIS

What _is_ this stuff? DH5a, MCR?

REBECCA

You're looking at a strain chart. That one's a host for generating genomic libraries containing methylated cytosine, or adamine residues, depending...

CHRIS

Whoa! Let's pretend I have no idea what you just said and try again, shall we? What did you find?

REBECCA

Uh, sorry. **giggles** Basically, there's a lot of, uh, _stuff_ in here on viral infection.

CHRIS

Now _that_ I understand. A virus. That makes sense. On May 11th there was some kind of a spill or outbreak, whatever, in a lab on this estate. Within eight or nine days, whoever wrote the diary had turned into one of those creatures out there.

REBECCA

Really? Does it say when the first symptoms appeared?

CHRIS

Uh, within twenty-four hours or so, I think, he or she was complaining of itchy skin. Swelling and blisters within forty-eight hours.

REBECCA

That's ... wow!

CHRIS

My thoughts exactly. Is there any way to tell if we could be infected?

REBECCA

Not without more information, sorry.

CHRIS

Damn. So we could turn into zombies, too?

REBECCA

An airborne virus with that kind of speed an toxocity... if it was still viable, all of Raccoon could be infected by now. I can't be sure, all this stuff is ten years old or more, and there's nothing really specific in here, but I doubt it's still contagious.

CHRIS

Good to know. We _have_ to find the others. If one of them should stumble across the lab without knowing what's there...

REBECCA

I'll come with you.

CHRIS

Ok. Stay close, though. The door we want is to the right at the end of the hall. I'll probably have to shoot the lock and I'm pretty sure there's a zombie or two wandering around, so I'll need you to watch my back..

REBECCA

Yes, _sir_!

CHRIS

Ready? Let's go.

SFX, Door opens.

FaDE TO BLACK.

Int. Kitchen

* * *

SFX, slight metallic reverb to voices

BARRY

 **off** Chris, you in here?

SFX, cautious footsteps, searching

BARRY (CONT'D)

Chris?

SFX, Distant elevator doors close

BARRY (CONT'D)

What's that?

SFX, Low him of service elevator for a few seconds then the doors slide open

BARRY (CONT'D)

Captain Wesker!

WESKER

Barry! Just the man I was looking for.

BARRY

God, you gave me a scare! I heard the elevator start up and I thought I was gonna have a heart attack. Captain, where did you go? When we got back to the entrance hall, you'd gone.

WESKER

Sorry about that. I had some business to take care of. Look Barry, I need your help. Have you heard of White Umbrella?

BARRY

No.

WESKER

Well, it's a sector of Umbrella Incorporated, a very important division. They specialise in... biological research, I guess you could say. The Spencer estate houses their research facility, and recently, an accident occurred in the lab. This division has a few ties to the STARS organisation and not long ago, I was asked to... _assist_ in their handling of this situation. It's a very delicate situation, mind you, very hush-hush. The boys at White don't want a whisper of their involvement getting out.

BARRY

Captain...

WESKER

Now, what I'm supposed to do is get to the laboratories on the grounds here and put an end to some rather incriminating evidence - proof positive that White Umbrella is responsible for the accident that's caused so much trouble here at Raccoon as of late. The problem is, I don't have the key to get to the labs - keys, actually. And that's where you come in. I need you to help me find those keys.

BARRY

 **long pause** Are you _insane_? You think I'm going to help you destroy evidence? You crazy son of a ...

WESKER

Ah, Barry, you don't understand. You see, you don't really have a choice in the matter. See, a few of my friends at White are currently standing, uh, _guard_ outside your house, watching your wife and daughters, making sure they're safe. We wouldn't want anything to happen to them, now would we?

BARRY

What?

WESKER

See, if you don't help me, I can't guarantee their safety, if you catch my drift.

SFX, Gun safety off

WESKER (CONT'D)

 **long pause** Before you pull that trigger, Barry, I should probably mention that if I don't report back to my friends fairly soon, and fairly regularly, their orders are, well, I'm sure you can guess.

BARRY

You're bluffing.

WESKER

I'm not, but go ahead. Try me. You can apologise to their headstones later.

 **long pause**

BARRY

 **sigh** You win. What do you need me to do?

WESKER

Good boy, Barry. Now, there are four copper plates hidden somewhere around this house. Each one is about the size of a teacup and has a picture engraved on one side - sun, moon, stars and wind. There's a back door on the other side of the mansion where the four of them belong.

SFX, jangle of a keyring

WESKER (CONT'D)

This key should open all of the doors in the other wing, or at least the important ones, first and second floor. Find those pieces for me and your wife and children will be fine.

BARRY

Chris and Jill...

WESKER

... will undoubtedly want to help you search. If you see either of them, tell them that the back door you've discovered could be the way out. I'm sure they'll be more than happy to work with their trusted friend, good ol' Barry. In fact, you should unlock every door you can in order to promote a more thorough search. **pause** Of course, you tell them you've seen me, that could complicate matters. If I run into trouble, say, get shot in the back... well let's not think about that, shall we? Let's just keep this to ourselves.

BARRY

Where will you be?

WESKER

Oh, I'll be around, don't worry. I'll contact you when the time is right.

BARRY

You'll tell them that I'm helping you, right? You won't forget to report in?

WESKER

Trust me, Barry. Do what I tell you and there's nothing to worry about.

SFX, Elevator door opens and shut, hum of elevator as it descends, fade out

BARRY

 **quietly** Wesker. **pause** Once this is over, once the girls are safe, you'll pay for this. With interest.

FADE TO BLACK.

* * *

Int. Shotgun room

JILL

Now this is what I'm talking about. And a Remington as well. Nice.

SFX, Click as the shotgun is lifted off its mounting hooks.

JiLL (CONT'D)

What was that? Uh, seems ok.

SFX, Loads shotgun, door opens and closes

SFX Footsteps on stone across short square room, 2 seconds

SFX, Rattle of locked door

JILL (CONT'D)

Funny. It was open when I came in. Who's...

SFX, Low rumble from above, ceiling grinding down, fade under dialogue

JILL (CONT'D)

The ceiling!

SFX, Hurried footsteps back across the room, but the other door is locked as well

JILL (CONT'D)

Oh no! Bad thing! Bad thing!

SFX, Short pause, then a shotgun blast

JILL (CONT'D)

Reinforced door!

SFX, Shotgun blast

JILL (CONT'D)

Oh god, please don't let me die in here! Help! _Help!_

 **pause**

BARRY

 **from other side of door** Jill? Is that you?

JILL

Barry? Help! Break the door down, now!

BARRY

 **from other side of door** Stand back, Jill!

SFX, Thump of Barry charging the door, a pause of 2 seconds, then another thump

JILL

Come on, come on!

SFX, A third thump. This time, a crunch and splintering of wood as the door breaks open

JILL (CONT'D)

Barry!

BARRY

 _Come on!_

SFX, The door splinters as the ceiling crashes through it, then a second later, a resonating boom as the ceiling impacts the floor

 **long pause**

JILL

 **breathing heavily**

BARRY

Jill, are you alright?

FADE TO BLACK.

* * *

Int. Mansion entrance hall

SFX, Muffled, distant boom of the ceiling impacting from the previous scene

REBECCA

What was that?

CHRiS

No idea.

REBECCA

There's nobody here.

CHRIS

And no forwarding message. I guess that moves us on to plan B.

REBECCA

What's plan B?

Chris

 **sigh** Hell if I know. But we can start by checking out that other room with the sword key. Maybe we can dig up some more information while we wait for the team to reassemble, a map or something would be useful.

REBECCA

Ok.

FADE TO BLACK.

Int. Music room

SFX, Door opens and closes, footsteps (x2) on carpet then stop

REBECCA

Ooh, look at that, a baby grand. It's beautiful. I used to play the piano, you know.

Chris

Really?

REBECCA

I wasn't very good, though. My mum forced me through four years of lessons before she let me quit.

CHRIS

Play something for me?

REBECCA

 **giggles** Oh no, I couldn't. I haven't played in years.

CHRIS

 **pause, coughs awkwardly** Look, how would you feel about staying here while I take a look around the house?

REBECCA

You're abandoning me?

CHRIS

No, not at all. It's just...

REBECCA

I know, I'd only get in your way.

CHRIS

Rebecca, don't be like that. I...

REBECCA

It's true, Chris. I don't have a gun and I'd only slow you down.

CHRIS

I just need to know you're safe, that's all.

REBECCA

Chris...

CHRIS

I'll be back as soon as I can. Lock the door behind me and don't go wandering off, ok?

SFX, Door opens and closes

REBECCA

 **to herself** Stupid, stupid! If I had a gun... Oh well, may as well sit down. **pause** What's this? Moonlight Sonata? Hey, I know this one. **pause** Oh, but it's been years...

SFX Rebecca plays Moonlight Sonata on the piano, the opening 12 seconds or so. The notes are mostly correct but she plays hesitantly, no consistency in the tempo, dynamics or note lengths. She is very unsure. After 12 seconds, she stops, interrupted by a low rumble of a secret panel opening in the wall

REBECCA (CONT'D)

What?

FADE TO BLACK.

* * *

Int. Mansion corridor

BARRY

 **fade in** ... and when I heard the shots I came running. Lucky for you. Another couple of seconds, you would've been a Jill sandwich.

JILL

Thanks, Barry. I hope I can return the favour if you ever get in a tight spot. Really. You saved my life.

BARRY

Yeah, yeah. Just glad I could help. But be more careful. This place is dangerous.

JILL

Yeah. **pause** So you _do_ think they're still alive?

BARRY

Yeah. Besides the shell casings, there was a whole trail of those ghouls in the other wing, all with clean headshots; gotta be Chris - though I had to splatter a couple more of 'em upstairs, so I figure he holed up somewhere along the way. So, what's with the star crest?

JILL

I found it in a room with paintings and crows. This place seems to be full of traps. In fact, maybe we should look for Wesker and Chris together, no telling what they might've stumbled into, or what else could happen to either of us.

BARRY

I don't know. I mean, you're right, we should watch our step, but there are a lot of rooms and our first priority ought to be securing an escape. If we split up, we can try to find the rest of the crests _and_ look for Chris at the same time.

JILL

And Captain Wesker.

BARRY

 **pause** Yeah. A-and Captain Wesker. Besides, we know what we're up against now. As long as we use a little common sense, we'll be fine.

JILL

Barry, are you ok? You seem - tired.

BARRY

No, I'm fine. Just worried about Chris, you know?

JILL

You sure you're ok?

BARRY

Yeah. Why?

JILL

No reason. You seem - preoccupied. Is something on your mind?

BARRY

No, nothing. I thought I'd go back over to the east wing, see if I can pick up Chris's trail. Why don't you head upstairs and start looking for the other crests? That way we can cover all of the rooms, work our way back to the main hall.

SFX, Footsteps away

BARRY (CONT'D)

 **off** You'll be fine. Good luck.

SFX, Footsteps walk away, fade out

JILL

 **to herself** Get a hold of yourself, Jill! You're being paranoid! That's Barry Burton there, the man who just saved your life! What could he possibly be hiding? **scoffs** Next thing, you'll be suspecting Captain Wesker of planning the whole thing. **pause** Maybe you should just stop thinking about it and do your job. We have to get out of here, let people know what's going on, or die trying.

FADE TO BLACK.


	4. 04 Fresh Air

Resident Evil, the Radio Drama

04\. FRESH AIR

written by Catboiler

based on

Resident Evil (1996) Capcom

Resident Evil, the Umbrella Conspiracy, by S.D. Perry

* * *

Recording available on Soundcloud

Just go to soundcloud and search for: "Resident Evil the Radio Drama"

* * *

Int. Lobby, 2nd floor

 _SFX, Muffled crow caws, running footsteps behind door, approaching, gunshots behind door_

 _SFX, Door bursts open and slams shut, crow caws become loud and then muffled again, becoming more distant, eventually die down_

Chris

 **breathing heavily** Jesus, how dumb can you get? Stupid, stupid! You can't afford to keep making mistakes like that! People are dying, and if you don't pull your head out of your ass and start being more careful you're gonna join them, just another...

Rebecca

 **off** Chris!

CHRIS

Rebecca?

 _SFX, Approaching footsteps climbing stairs, hurried_

REBECCA

 **approaching** Are you ok?

CHRIS

Yeah. What happened? Is everything alright?

REBECCA

I found this key. It's got a shield on it. After you left, I played the piano and this secret door opened up in the wall. There was this gold emblem inside, like a shield, and I switched it with the wooden one n the dining room and the grandfather clock moved and that key was behind it, and... **pause** I'm sorry, I know I shouldn't have left, but I thought I could catch you before you got too far.

CHRIS

It's ok. I'm just surprised to see you. Pleasantly surprised, I should add. And here, I found you something a little better than a can of insect repellant.

REBECCA

A gun? Nice! Wait, that's a STARS Beretta. **pause** Whose was it? **long pause** Listen. I know you feel responsible for me, and I admit that I'm pretty new at this. But I am a member of this team and sheltering me from the facts could get me killed. So - whose was it?

CHRIS

 **sigh** Forest. I found him outside just now. He'd been pecked to death by crows. Ken's dead, too. A zombie got him.

REBECCA

 **gasp, pause** Richard? Enrico?

CHRIS

No sign.

REBECCA

Poor Forest. Ken. **pause** So, what now?

CHRIS

I guess we try another door. Perhaps one with a shield engraved on it.

FADE TO BLACK.

* * *

Int. Mansion 2nd floor

REBECCA

Richard!

CHRIS

Is he...

REBECCA

 **pause** Dead? I'm afraid so.

CHRIS

How?

REBECCA

Not sure. Let me just... look at this. See those purple lines, radiating out from the cuts? And the way the muscle has been punctured, here and here?

CHRIS

What about it?

REBECCA

Well, it looks like a snake bite. I think Richard was poisoned.

CHRIS

A bite? But there must be six inches between those puncture marks. What snake gets that big?

REBECCA

No idea. Maybe it was something else. But that wound shouldn't have killed him, it would have taken hours to bleed out. I'm pretty sure he was poisoned.

 _SFX, Chris searches Richard's body_

CHRIS

Look, take the radio. How are you for ammo?

REBECCA

Not brilliant.

CHRIS

Take the ammo clip, too, then.

REBECCA

Thanks.

CHRIS

Whatever killed him might be back there...

REBECCA

Then we'll have to be careful, won't we?

 _SFX, Rebecca loads her gun and cocks it_

CHRIS

Ok. You take that room. You run into any trouble, come back here and wait. Check back in five minutes either way.

REBECCA

Yes _sir_!

 _SFX, Rebecca footsteps on carpet fade out, distant door opens and closes_

 _SFX, Chris unlocks a door with a key. Door opens_

CHRIS

 **to himself** Not much in ... **sniffs three times**

 _SFX, Muffled soft sliding_

CHRIS (CONT'D)

What the...

 _SFX, Huge snake slithers out of wall, impacts into wood near Chris, hissing madly_

CHRIS (CONT'D)

Oh God!

 _SFX, Running footsteps, being chased by the snake. Gunshots, hissing and gasps from Chris. Two more gunshots, snake slams Chris to the floor. He gasps and grunts as he fights to free himself. Another gunshot._

 _SFX, Door bursts open and Rebecca runs in_

REBECCA

Chris! **pause** Wow!

CHRIS

Rebecca, help!

REBECCA

B-but... how...

CHRIS

The eyes! Get the eyes!

 _SFX, Snake hiss_

CHRIS (CONT'D)

Come on! Do it!

REBECCA

I haven't got a clean shot. It won't stay still...

CHRIS

It's a snake, Rebecca! Not going to... stay still. Just kill it! Quick! I... can't... breathe...

 _SFX, Two gunshots_

REBECCA

Missed!

CHRIS

I know that! Come on Rebecca, you can do it!

 _SFX, Snake hiss_

REBECCA

 **scream, wails** Oh I don't like snakes!

CHRIS

Come on, Rebecca! _Do it!_

 _SFX, Three quick gunshots, snake hisses and writhes, then stops and falls limp_

REBECCA

I got it! _I got it!_

CHRIS

 **weakly** Well done. **pause** Uh, a little help here?

 _SFX, Rebecca helps Chris out from underneath the snake. Thump as the snake's body hits the floor_

REBECCA

Are you ok? What's that?

CHRIS

Copper plate. Looks like a carving of the moon. Snake was, uh, guarding it. Thanks, Rebecca.

REBECCA

I...

CHRIS

Saved me. That's the last time I underestimate you. I mean it.

REBECCA

Thanks, Chris.

CHRIS

You find anything?

REBECCA

Table, couple of shelves, nothing else. Looks like you had all the fun.

CHRIS

Yeah, I suppose you could say that.

REBECCA

What's the plate for?

CHRIS

Beats me. Maybe we'll figure it out somewhere along the way. Come on, let's out of here. **pause** I _hate_ snakes.

 _SFX, Footsteps_

FADE TO BLACK.

* * *

Int. Mansion 2nd floor hallway

ChRIS

Barry!

BARRY

 **off** Chris!

CHRIS

Jesus, it's good to see you, man! I was starting to think that me and Rebecca were the last ones alive - where are Jill and Captain Wesker?

BARRY

Well, Jill and I came after you when we heard the shots, but all the doors in that hall were locked, and when we got back to the entrance hall, Wesker was gone. Since then, we've been looking for you and trying to find a way out. You ok, Rebecca?

REBECCA

Yeah, I'm ok.

BARRY

It's good to see you. Both of you.

CHRIS

So Captain Wesker just disappeared?

BARRY

Yeah. And we found Ken. One of those ghouls got him.

CHRIS

I saw. Forest and Richard, too.

BARRY

Damn! But Jill found a way out, a back door, except it's got a trick lock, like a puzzle, and we have to get all the pieces together to open it. There are these four metal crests, made out of copper. Jill found one and we think the rest are hidden throughout the mansion...

CHRIS

Like this?

BARRY

Yeah. Yeah, that's one of them! Where did you find it?

ReBECCA

He had to fight a big snake for it. A _really_ big snake. I think it may have been affected by the accident, though a cross-genus virus... those are pretty rare.

BARRY

A-accident?

CHRIS

Yeah. We found some information that suggests there's some kind of secret research facility here on the estate and that something they were working on got loose. A virus.

REbECCA

One that can apparently infect both mammals _and_ reptiles. Not just different species, different _families_.

BARRY

F-families. **pause, cough** Yeah, we've got to get the feds in on this, a full investigation, military support, quarantine of the area...

CHRIS

...I agree...

BARRY

... but to do that, we have to find all the crests. Jill might've turned up another one by now, maybe both of them.

CHRIS

Do you know where she is?

BARRY

I'm pretty sure, but this place is a kind of a maze... why don't you wait in the main hall while I go get her? That way we can organise our search, do more thorough job. Mind you, if we don't turn up soon, keep looking for more of those pieces. The back door is at the end of the west wing corridor, first floor. **pause** Per-perhaps I should take the crest?

 _ **long pause**_

CHRIS

Sure thing. We'll wait, but if she's not where you think she is, come back and get us. We stand a better chance of making it through this place if we stick together.

BARRY

Ok. See you soon.

 _SFX, Footsteps_

FADE TO BLACK.

* * *

Int. Back exit

 _SFX, Muffled wildtrack of cicadas and crickets and the occasional dog howl_

 _SFX_ _ **off**_ _Metal door opens, hurried footsteps approach_

BARRY

 **to himself, slightly out of breath** You're such a liar, Barry, using your friends like that. They trusted you! They could have... wait a sec, three crests in! And I've got the last one! Wesker can get to the lab now, he doesn't need us. I can go back in and keep the team busy while he does whatever he has to do! It'll all be...

WESKER

Why don't you finish the puzzle, Barry?

BARRY

Wesker! Yeah, right.

 _SFX, Clink as the crest is flipped into place, then a heavy ka-chink from inside. Heavy metallic door swings slowly open_

WESKER

Come on Barry. Time's short and there's still a lot for us to do.

BARRY

What do you mean? You can get to the lab now...

WESKER

Yes, well, there's been a slight change of plan. See, it turns out that I need to find something else. I need a small medallion engraved with a wolf. I have an idea of where it might be, but there are some dangers involved... and you've done such a good job so far, I want to come along.

BARRY

But...

WESKER

In fact, I'm afraid that I'm going to have to _insist_ on it.

 _ **long pause**_

BARRY

Yes.

WESKER

Yes _what_ , Barry?

BARRY

Yes, Captain.

WESKER

That's more like it. Come on.

 _SFX, Footsteps, fade out_

FADE TO BLACK.

* * *

Int. Office

Martin

My dearest Alma. I sit here trying to think of where to begin, of how to explain in a few simple words all that's happened in my life since we last spoke, and already I fail. I hope this letter finds you well and whole, and that you will forgive the tangents of my pen, this isn't easy for me. Even as I write, I can feel the simplest of concepts slipping away, lost to feelings of despair and confusion - but I have to tell you what's in my heart before I can rest. Be patient, my love, and accept that what I tell you is the truth.

The entire story would take many hours to tell, and time is short, so accept these things as fact: there was an accident in the lab and the virus we were studying escaped. All my colleagues who were infected are dead or dying, and the very nature of the disease is such that those still living have lost their senses. This virus robs its victims of their humanity, forcing them in their sickness to seek out and destroy life. Even as I write these words, I can hear them, pressing against my locked door like mindless hungry animals, crying out like lost souls.

There aren't words true enough, deep enough to describe the sorrow and shame I feel knowing that I had a hand in their creation. I believe that they feel nothing now, no fear, no pain, but the knowledge that they can't experience the horror of what they've become doesn't free me of my terrible burden. I am, in part, responsible for this nightmare that surrounds me.

In spite of the guilt that is burned into my very being, that will haunt my every breath, I might have tried to survive, if only to see you again. But my best efforts only delayed the inevitable. I am infected, and there is no cure for what will follow - except to end my life before I lose the only thing that separates me from them. My undying love for you.

Please understand. Please know that I'm sorry.

Martin Crackhorn.

FADE TO BLACK.

* * *

Int. Back exit

 _SFX, Muffled wildtrack of cicadas and crickets and the occasional dog howl_

 _SFX,_ _ **off**_ _Metal door opens and closes, hurried footsteps (1 person) approach_

JILL

 **to herself** But if Barry found the missing pieces, why didn't he come looking for me? Maybe it wasn't Barry. Maybe it was Chris or Captain Wesker.

 _SFX Footsteps fade out_

 _ **long pause**_

 _SFX,_ _ **off**_ _Metal door opens and closes, hurried footsteps (2 people) approach_

REbECCA

It's open!

CHRIS

And the moon crest I gave Barry, it's in the door.

REbECCA

But if Barry ran into trouble, how did it end up here?

CHRIS

 **sigh** No idea. But we should go through. This may be the only way off the estate.

REBECCA

Fine by me. It just feels good to get out of here, you know?

CHRIS

Yeah, no kidding.

REBECCA

Ready, Chris?

CHRIS

Yeah. Let's get out of here.

 _SFX, Footsteps start again, fade out._

FADE TO BLACK.

* * *

Ext. Waterfall

 _SFX, Wildtrack of cicadas, crickets and the occasional dog howl (not muffled now), fade under dialogue_

 _SFX, Dull roar of waterfall, fade under dialogue_

 _SFX, Wet, splashing footsteps running on stone through the waterfall_

JILL

 **off** Hey, you! In the waterfall! _Wait!_

 _SFX,_ _ **off**_ _Running footsteps approach and fade, then become wet splashing footsteps and they run through the waterfall, then fade away completely_

 _ **pause**_

 _SFX, Slow footsteps (x2) on ground approach, continue under dialogue, but these do not become wet footsteps_

REBECCA

 **off** Was that one of the dogs that... attacked us when we landed the helicopter?

CHRIS

 **off** Could be. It hasn't been dead long. Half an hour, perhaps. **pause** It's still warm.

REBECCA

 **approaching** Where's the way out?

CHRIS

 **approaching** Well, there's only this path. I guess we follow it down.

 _ **pause**_

 _SFX, quiet plops of snakes fall out of tree branches on to the path, some hissing_

REBECCA

 **off, screams** Chris!

CHRIS

 **off** Snakes! Run!

 _SFX,_ _ **off**_ _Footsteps begin running amidst the still falling and hissing snakes_

REBECCA

 **off, screams**

FADE TO BLACK.

Ext. Gardens

 _SFX, Wildtrack of cicadas and crickets and the occasional dog howl, fade under dialogue_

CHRIS

I hate snakes. Even little ones. They can be the most dangerous.

REBECCA

Were you bit?

CHRIS

No. You?

REBECCA

No. Though if it's all the same to you, I'd rather not go back that way. I'm more of a cat person, really.

CHRIS

Funny. I would've figure you for lab rats. I...

 _SFX, Two quick beeps from the radio_

CHRIS (CONT'D)

The radio! Quick!

 _SFX, Static crackling through a tinny speaker. The following line of dialogue is punctuated by the static_

BRAD

 **filtered through tinny radio speaker** ... This is Brad... alpha team... read? If... can hear this...

 _SFX, More static, stops suddenly as Rebecca presses the transmit button_

REBECCA

Brad? Brad, come in! This is Rebecca Chambers, STARS Bravo Team. Brad, do you read? Over.

 _SFX, Very short burst of static as the transmit button is released. More static. No further signal. The radio is then switched off._

CHRIS

 **pause** He must have got out of range.

RebECCA

Well, at least he's out there. When he comes back, we'll hear him.

CHRIS

 **to himself** Assuming he comes back.

RebECCA

What was that?

CHRIS

I mean... yeah sure. Well, shall we see what's behind door number one?

 _SFX, Squeak of gate being slowly opened_

FADE TO BLACK.

* * *

Int. Tunnel

 _SFX, All voices heavily reverbed_

 _SFX, Distant waterfall, muffled, fade under dialogue_

 _SFX, Echoing footsteps on stone, approaching_

JILL

Barry?

BARRY

Jill! How did you get down here?

JILL

Same way you did, apparently. But Barry, how did you know...

BARRY

Ssh, listen... **long pause** I thought I heard something. Voices... Look, I'm sorry I didn't wait for you, but I heard somebody walking out in the garden and had to take a look. I found this place by accident, kind of tripped and fell in... anyway, I'm glad you're here. Let's check around, see what we can dig up.

JILL

 **pause** Ok. Let's go.

 _SFX, 2x footsteps on stone (echoing)_

ENRICO

 **off** Hello? Who's there?

JILL

Enrico? _Enrico!_

ENRICO

 **off** Jill? Is that you?

 _SFX, Running, echoing footsteps (x2), stop after next line_

ENRICO (CONT'D)

Hold it! Stop right there! **pause** Are you with anyone, Jill?

JILL

Yes. Barry's here, too. Enrico, what happened? You're hurt, are you ok?

ENRICO

 **pause** I'm ok. I'm sorry, I had to make sure... **pause** Look, this whole thing's a set up. I got lost, climbed the fence, saw the tunnels... found the papers... Umbrella knew, all along...

BARRY

Hold on Rico, we'll get you out of here, you just have to lie still...

ENRICO

No, you have to listen to me. There's a traitor in the STARS, it's...

 _SFX, Two close gunshots, echoing, followed by footsteps on stone running away_

JILL

Enrico!

BARRY

Stay here with him, Jill.

 _SFX, Running footsteps (echoing) on stone, fade out_

JILL

Enrico!

 _MUSIC, Ending Theme plus credits_


	5. 05 Tyrant

Resident Evil, the Radio Drama

05\. TYRANT

written by Catboiler

based on

Resident Evil (1996) Capcom

Resident Evil, the Umbrella Conspiracy, by S.D. Perry

* * *

Recording available on Soundcloud

Just go to soundcloud and search for: "Resident Evil the Radio Drama"

* * *

Int. Point 42

SFX, Fade in on Rebecca searching through a trunk, Chris searching some shelves

CHRIS

A-ha!

SFX, Searching stops

REBECCA

What?

CHRIS

These.

SFX, Jangle of keys

REBECCA

Nice. What does the tag read?

CHRIS

Alias, three four five. You find anything?

REBECCA

A couple of things. Listen to this: 'Four days since the accident and the plant at Point 42 is still growing and mutating at an incredible rate…' Uh, it calls this thing Plant 42 and says its root is in the basement. It continues: 'Shortly after the accident, one of the infected members of the research team became violent and broke the water tank in the basement, flooding the entire section. We think some trace chemicals used in the T-Virus tests contaminated the water and contributed to Plant 42's radical mutations. A number of shoots have already been traced to different parts of the building, but the main plant now hangs from the ceiling in the large conference room of the first floor.'

'We've determined that Plant 42 has become sensitive to movement and is now carnivorous. In close proximity to humans, it uses tentacular, prehensile vines to entrap its prey while leechlike adaptations latch onto exposed skin and draw fatal quantities of blood; several members of the staff have already fallen victim to this.' It's dated May twenty-first, signed Henry Sarton.

CHRIS

God, zombies and killer dogs aren't enough, now a man-eating plant! When we report this, we'll have to...

REBECCA

No, that's not it. Look at this photo.

CHRIS

What about it? It was taken outside this house.

REBECCA

No, that's not it. Look at the back.

CHRIS

H. Sarton. Point Forty... Ah.

REBECCA

See?

CHRIS

 _This_ is Point Forty-two.

REBECCA

The plant is _here_.

FADE TO BLACK.

* * *

Int. Tunnels

SFX, All voices heavily reverbed.

SFX, Running footsteps (echoing) approach and stop

BARRY

Wesker! **grunts in pain**

WESKER

 **low, quickly** I know you want to kill me, Barry, but I want you to think about what you're doing. I die, your family dies. And right now, it looks like Jill may have to die, too, but you can stop it. You can put a stop to all the killing.

BARRY

You killed Enrico! Ow! Get that gun out of my...

WESKER

Yes, I killed him. But I didn't want to. He found some information he shouldn't have, he knew too much. And if he'd told Jill what he knew about Umbrella, I'd have had to kill her, too.

BARRY

You're going to kill her anyway. You're going to kill all of us...

WESKER

 **sigh** That's not true! Don't you get it - I just want to get to the laboratory and get rid of the evidence before anyone finds it! Once that material is destroyed, there's no reason for anyone else to get hurt. We can all just ... walk away. **pause** All I want you to do is keep Jill busy, keep her and anyone else you run into away from the labs, at least for a little while. You'll be saving her life ... and I swear to you that as soon as I get what I need, you and your family will never hear from me again.

BARRY

 **long pause** Where _are_ the labs.

WESKER

 **to himself** Good boy, Barry. **to Barry** You've made the right decision. Here's a map. If for some reason you can't keep her away, at least go with her. I mean it, Barry, no one else has to get hurt.

BARRY

 **pause, sigh** Alright.

SFX, Barry walks away, echoing footsteps fade out

WESKER

Good boy, Barry. I knew I could count on you.

FADE TO BLACK.

* * *

Int. TUNNELS

SFX, All voices heavily reverbed

JILL

Barry! Barry! **pause** Barry! **long pause, to herself** Where is he? And who's the traitor? **pause, deep breath** Ok, use your brain, Jill. Enrico said _'he'_ , so that rules out Rebecca. Chris, well, he was convinced there was something going on, and Barry was with me when Enrico got shot. Brad, well, he just doesn't do anything dangerous, and Joseph and Ken are dead. That just leaves Richard, Forest and Wesker.

SFX, Slow footsteps on stone, stopped, interrupted by a distant slow, wet thump. A second later, another, then a third a further second later

JILL(CONT'D)

Hello?

SFX, Three more thumps, each a second apart, approaching

JILL (CONT'D)

That doesn't sound good.

SFX, Her footsteps become hurried

SFX, Close, two thumps

SFX, Jill's footsteps stop

JiLL (CONT'D)

Holy..

SFX, High-pitched reptilian shriek, echoing around

SFX, Three gunshots, another shriek and more gunshots

JILL (CONT'D)

 **screams**

SFX, Shriek, huge thump very close

SFX, More gunshots, then several clicks of an empty chamber

JILL (CONT'D)

 **long pause, breathing heavily** What in the name of... was _that_? What the hell were you people _working_ on out here?

SFX, Running footsteps, fade out

FADE TO BLACK.

* * *

Int. POINT 42

SFX, Approaching footsteps x2

REBECCA

 **off, approaching** ... so I'd like to try to make this V-Jolt if I can. Look, we need every bit of help we can get, and if it's as potent as the report says...

SFX, Footsteps stop, door opened but slammed shut. Behind the door, a series of heavy, sliding thumps

CHRIS

Lots of vines, you said?

REBECCA

Uh-huh. I think we just found Plant 42.

CHRIS

Terrific. And the other door's got a security lock. My key won't open it.

REBECCA

I guess we could try numbers until...

CHRIS

Rebecca, you have any idea what our chances are of just _stumbling_ across the right... **pause** wait a sec, on the key tag, it said...

REBECCA

Alias three four five. Try it!

SFX, Three tones as digital number punched into a keypad. Then a click as the door is unlocked, followed by a confirmation tone.

CHRIS

 **disappointed** It's just a storage room.

REBECCA

 **with growing excitement** Hyoscyamine, anhydride, dieldrin… Chris, we can kill the plant! That V-Jolt, the phytotoxin - I can make it here! If we can get to the basement, find the plant's root...

CHRIS

... then we can destroy it without having to fight the damned thing! Rebecca, you're brilliant!

REBECCA

Why, thank you, sir!

CHRIS

How long do you need?

REBECCA

Ten, fifteen minutes, tops.

CHRIS

You got it.

CHRIS (CONT'D)

SFX, Rebecca begins pulling down bottles, clinking them together

FADE TO BLACK.

* * *

Int. POINT 42

SFX, Wildtrack of slimy plant roots swirling, under dialogue

REBECCA

God that's disgusting.

CHRIS

And that's only the root. So how do we do this?

REBECCA

 _We_ don't do anything. _You_ stand back and don't breathe too deeply. This stuff's got a couple of toxins in it that neither of us want to be ingesting, and it'll turn gaseous once it hits the infected cells.

CHRIS

How will we know if it's working?

REBECCA

We'll know. Watch.

SFX, Uncork a bottle, pour liquid out

REBECCA (CONT'D)

Now. Get back.

SFX, An acidic hissing, a crackling sound like wet wood thrown onto a blazing fire, then the tendrils begin snapping and breaking. Then, the whole root shrivels up into itself. Takes around 10-20 seconds.

CHRIS

God, what's in that?

REBECCA

Trust me, you don't want to know. Come on, let's get out of here.

SFX, 2x footsteps, fade out.

FADE TO BLACK.

* * *

Int. Point 42 plant room

SFX, Gentle hissing, fade under dialogue

REBECCA

My God! Plant 42!

CHRIS

Look at it! Well done, Rebecca. I did _not_ want to have to fight that!

REBECCA

What's over there?

SFX, Quick footsteps, then stop

REBECCA (CONT'D)

They're burned but...

SFX, Pick charred papers out of ashes of fireplace

REBECCA (CONT'D)

...most of it is still readable.

CHRIS

 **reading** Security protocols, basement level one, heliport and elevator. Level two, visual data room, level four, tyrant.

REBECCA

Oh God. Look, Chris.

CHRIS

 **reading** Basement Level Three, prison. At least one consultant researcher, E Smith, S Ross, A Wesker, must be present if viral use is authorised. **pause** A. Wesker. Captain Albert goddamn _Wesker!_

REBECCA

Captain Wesker is involved with all this?

CHRIS

And if he's still here, he's down in those labs, maybe with the rest of the team. If Umbrella sent him here, God only knows what he's up to.

REBECCA

We've got to get down there. Warn them.

CHRIS

But how?

REBECCA

Here. Look.

SFX, Flips paper over

REBECCA (CONT'D)

It's a map. Look, there's a secret tunnel through the waterfall.

CHRIS

What are we waiting for? **pause** Goddamn! Wesker! Wesker's a traitor!

REBECCA

Chris?

CHRIS

I trusted him. We all trusted him. And he was playing us right from the start. Just one giant goddamned setup!

REBECCA

 _Chris_!

CHRIS

 _What_?

REBECCA

You've got to calm down!

CHRIS

 _Why_?

REBECCA

Because you're scaring me. Look Chris, whoever Captain Wesker is, whatever he's done is irrelevant at the moment. Because we still have to get out of here. And at the moment, you're all I've got. So I need you to calm down and focus, think clearly and forget about Captain Wesker. Just concentrate on getting down to the labs, ok? **pause** Ok?

CHRIS

 **slowly** Ok. **deep breath in and out** Thanks.

REBECCA

Come on.

SFX, Footsteps 2x to fade

FADE TO BLACK.

* * *

Int. Power room

JILL

Barry!

Barry

Jill, are you alright?

JILL

Barry, where did you go? I thought you ...

BARRY

I'm sorry, Jill. I ran into some trouble.

JILL

Are you ok?

BARRY

Yeah, yeah. I saw these...

JILL

... weird green reptilian nightmares.

BARRY

Yeah, that's them. What are they?

JILL

Beats me. I emptied a whole clip into it before it died. Barry, we've got to get out of here. I found some papers upstairs, proof of what's been going on. Enrico was right, Umbrella's behind all of this and one of the STARS knew about it. It's too dangerous to keep looking around, we need to get those files and head back to the mansion, wait for the RPD...

BARRY

But I think I found the main lab. Downstairs, there's an elevator at the end of the hall. There are computers and stuff. We can get into their files, really nail 'em.

JILL

We could find out everything, present the feds with the whole package.

BARRY

Yeah.

JILL

Ok. Lead the way.

FADE TO BLACK.

* * *

Int. Basement B1

SFX, Approaching footsteps x2, stop

SFX, Door rattles, locked

REBECCA

It's locked.

CHRIS

Yeah. Access to the heliport during emergencies only.

REBECCA

But this _is_ an emergency.

CHRIS

Rebecca, I want you to stay here. If you stand by the door, you should be able to pick up Brad's signal from outside. Tell him where we are and what happened - and if I'm not back in twenty minutes, get back to the courtyard and wait there until help arrives.

REBECCA

But I want to go with you! I can take care of myself, you _know_ that, and if you find the lab, you'll need me to tell you what you're looking at...

CHRIS

No. For all we know, Wesker already killed the others and is looking to finish thee job. If we're the last ones, we can't risk both of us getting ambushed. Somebody has to survive and tell people about Umbrella. I'm sorry, Rebecca, it's the only way.

REBECCA

But...

CHRIS

And I know you can take care of yourself. I wouldn't have got this far without you, ok? This isn't about your competence. Twenty minutes. I just have to see if anyone else made it.

REBECCA

 **pause** Ok, Chris. I'll stay here. Twenty minutes. But promise me you'll come back.

CHRIS

I promise.

SFX, Chris begins to climb down the metal ladder, fade out

FADE TO BLACK.

* * *

Int. Basement B4

SFX, Approaching hum of elevator arriving. It stops, the doors slide open, old-fashioned metal gates

JILL

Barry, are you ok? I've been worried about you ever since we got to the mansion. I thought - well, never mind what I thought. Is something wrong?

BARRY

I - yeah, something's wrong. But now's not the time. Let's just get this over with.

JILL

Ok. When this is over, we can talk.

BARRY

 **to himself** If you still want to talk to me...

JILL

What was that?

BARRY

Nothing. Come on.

SFX, Footsteps x2 on stone for 3 seconds, then stop

WESKER

Hello Jill. Nice of you to drop by. Good work, Barry. Take her weapons.

JILL

Captain Wesker? **pause, quieter** Barry?

BARRY

Jill, I...

WESKER

Barry, get back upstairs and wait for me by the exit. I'll be up in a few minutes.

BARRY

But you said you just wanted to lock her up...

WESKER

Oh, don't worry, I'm not going to hurt her, I promise. Now get going.

JILL

Barry?

BARRY

I'm sorry, Jill.

SFX, Footsteps away, distant elevator gates shut and elevator hum starts and fade away

JILL

I can't say I'm all that surprised. But how did you get Barry to help you?

WESKER

 **laughs** Barry? Ol' Barry's got some trouble at home. I told him that Umbrella has a team watching his home, waiting to kill his precious family. He was... only too happy to help.

JILL

You're a bastard, you know that?

WESKER

Maybe. But I'll be a rich one when this is over. Umbrella's paying me a lot of money to clean up their little problem, and to get rid of a few of you goddamn snooping STARS in the process.

JILL

Why would Umbrella want to destroy the STARS?

WESKER

Oh, not _all_ of them. They've got some big plans for some of us, at least those of us who want to make a profit. It's you snivelling do-gooders that they don't want - the red-white-and-blue, apple pie, all that happy bullshit. The way Redfield's been running around, mouthing off about conspiracies - you think Umbrella didn't notice? It has to stop, here, now. This whole place was rigged to blow up in case of an accident, and the T-Virus escaping certainly qualifies. Once you're all dead and this facility's destroyed, no one will be able to get too the truth. But enough about Umbrella. I had you brought down here for a little experiment of my own. I want to see how our most agile team member stands up against the miracle of modern science, the ultimate bio-weapon. The Tyrant. If you'll just step through that door.

JILL

I can't believe that you're doing this, Wesker. Selling out to protect a bunch of unethical corporate blackmailers.

WESKER

Blackmailers? Oh, you mean Barry. Umbrella wouldn't bother with blackmail. They can afford to buy people just as easily. I made all that up just to get him on board. It was too easy. All I had to do was...

SFX, Pistol butt into the back of Wesker's head, he crumples to the floor

BARRY

 **long pause** Jill, I'm so sorry. I should never have believed him. **pause** He said... my wife... the babies...

JILL

 **pause** It's ok, Barry. You came back, that's what matter.

BARRY

You'd better have your weapons back.

JILL

Thanks.

BARRY

I don't suppose you have any handcuffs on you?

JILL

No. Maybe we should check out the lab, there's bound to be some cable or cord we can use. Besides, I'm curious about this 'miracle of modern science' he was talking about. Tyrant, he called it.

SFX, Hydraulic doors slide open

SFX, Laboratory wildtrack, bubbling, electronics, fade under dialogue

JiLL (CONT'D)

Wow!

BARRY

Oh my God!

JILL

Tyrant.

BARRY

Is it... human?

JILL

Not any more. Maybe it was, once. **pause** We can't leave it like this. We should...

BARRY

...put it out of its misery. There must be a switch here somewhere.

SFX, Switches and buttons pressed. Some computer noises, then and dull thump, then another.

JILL

Tyrant!

BARRY

It's alive!

SFX, Splintering and smashing of glass, roar of Tyrant

BARRY (CONT'D)

 _Run!_

SFX, Sprinting footsteps, hydraulic doors slide shut, lab wildtrack stop. Footsteps stop.

JILL

Where's Wesker?

FADE TO BLACK.

* * *

Int. BASEMENT B1

SFX, Radio static, under next line also

BRAD

 **filtered through radio** ...STARS Alpha team, Bravo team, anybody - if you can't answer, try to signal! I'm running out of fuel, do you read? This is Brad! Repeat - STARS Alpha...

SFX, Rebecca hits transmit

REBECCA

Brad! There's a heliport at the Spencer estate, you have to get to the heliport! Brad, come in!

SFX, Transmit button released, more static

BRAD

 **filtered through radio** ...copy...

SFX, Transmit button pressed

REBECCA

Brad!, Come in! Brad!

SFX, Transmit button released, more static

SFX, Alarm begins blaring, heliport door unlocks

COMPUTER

The triggering system has now been activated. All personnel must evacuate immediately. You have five minutes. The triggering system has now been activated. All personnel... **fade out**

FADE TO BLACK.

* * *

Int. basement B3

SFX, All voices raised above computer voice, which keeps talking under dialogue

COMPUTER

 **fade in** ... has been activated. All personnel must evacuate immediately. You have four minutes. The triggering system has now... **continues under dialogue**

JILL

Chris!

CHRIS

 **off** Jill! Barry! You're safe!

JILL

Chris, we need to...

CHRIS

 **off**...hurry, yes I know. Come on, there's a heliport upstairs. Rebecca's waiting. It's good to see you both

FADE TO BLACK.

* * *

Ext. Heliport

SFX, Distant helicopter approaching. Whine of wind blowing around. Hum of elevator approaches, metal gate slides open

REBECCA

He heard me! Brad heard me! Look!

CHRIS

 **off** Brad!

BARRY

 **off** Brad! Over here!

SFX, Huge crash of splintering concrete

CHRIS

What the...

SFX, Another huge crash, roar of Tyrant

REBECCA

 **screams**

JILL

Tyrant!

SFX, Tyrant roar

CHRIS

 **off** Oh my...

BARRY

 **off** _Scatter!_

SFX, Both close and distant gunshots from Beretta, Colt and shotgun

SFX, Huge thumping footsteps, Tyrant roars and the screech of its claws on the concrete

SFX, From this point until the end of the scene, all voices are raised and shouting.

JILL

Barry! Watch out!

SFX, More gunshots

CHRIS

 **off** We're not doing nearly enough damage. This whole place is gonna blow!

SFX, Tyrant roars, runs again and screeches its claws

BARRY

 **off, yells in pain**

JILL

Barry!

SFX, More gunsshots

SFX, Tyrant roars, runs again and screeches its claws

REBECCA

Look!

SFX, Helicopter, close now

BRAD

 **off** _Incoming!_

JILL

Chris!

CHRIS

 **off** I'm on it!

BRAD

 **off** Chris! Get the rocket launcher!

Chris

 **off** Jill, over here! Rebecca!

JILL

Barry!

CHRIS

 **off** _Clear!_

SFX, off, whoosh of rocket launcher, approaching then passing POV, hits Tyrant and explodes.

SFX, As the explosion dies away, the helicopter lands and footsteps x4 sprint to it

JILL

 **off** _Go Brad, now!_

SFX, Helicopter lifts off, powers away

SFX, As it fades away, the estate explodes in a series of separate but powerful explosions

FADE TO BLACK.

* * *

Int. Helicopter

SFX, Muffled helicopter interior, fade under dialogue

BARRY

winces in pain Aagh!

REBECCA

Sit still, Barry. That looks nasty.

BARRY

Yeah, that... thing caught me.

JILL

How are you?

BARRY

I'll be fine. **pause** Look, Jill, I'm...

JILL

It's ok, Barry. Really.

BARRY

 **pause** Thanks.

REBECCA

Hold still, Barry. **pause** There. That should hold for now, but we need to get you some proper treatment when we get back, ok?

JILL

Now what?

BARRY

I'm going home. Kathy... I need to see them.

JILL

Good idea. There's a hot bath with my name on it. Chris?

CHRIS

Not me. **stretches noisily** Gonna hit the town, me.

JILL

 **laughs** Don't know where you get the energy from. What about you, Rebecca?

CHRIS

Oh, she's coming with me.

JILL

Are you?

REBECCA

Am I?

BARRY

 **chuckles** Smooth, Redfield. Real smooth.

CHRIS

We may as well enjoy ourselves tonight. We've earned it, and anyway, I owe you a lot of drinks for your help back there. If it wasn't for Rebecca, I wouldn't be here now. And she's _not_ to be known as the rookie any more. She's definitely graduated. With honours.

REBECCA

Thanks, Chris. I _will_ come with you.

BARRY

And tomorrow? Apart from the hangover, that is.

JILL

Tomorrow?

CHRIS

You planning on letting Umbrella get away with this?

BARRY

No way.

REBECCA

Uh-uh.

CHRIS

Then tomorrow, we make sure everyone knows what Umbrella's been up to. It's up to us to take out Umbrella.

SFX, Closing Theme and Credits


End file.
